Richard Lester's 1975 sequel to his romping Three Musketeers—released the year before—reunites his swashbuckling cast for a decidedly less happy and more somber experience. This time, D'Artagnan (Michael York) and his Musketeer mentors (Richard Chamberlain, Oliver Reed, Frank Finlay) have a tougher fight against their old enemies, and the adventure is not without its casualties. But the film is highly entertaining, filled with that same loony air that makes most films by Lester (How I Won the War, A Hard Day's Night, Help!) so much fun. The actors are with him every step of the way: Reed, Chamberlain, Finlay, and York are a heroic version of the Marx brothers, Raquel Welch was never better, and Charlton Heston clearly enjoys playing the evil Cardinal Richelieu. The DVD release has a full-screen presentation, filmographies, and credits for cast and crew. —Tom Keogh

Fans of the special edition of the original Mummy will find just as satisfying a treasure room in this sequel DVD. Director Stephen Sommers and executive producer-editor Bob Ducsay are back with an animated play-by-play commentary, complementing the movie with technical tidbits and entertaining production stories. The "Spotlight on Location" featurette is the usual promotional puff piece, but the Visual and Special Effects Formation galleries dig deep into four key effects scenes (including the pygmy mummy attack), each broken down into four stages of development and illustrated with work-in-progress footage, raw animation, and production sketches. In addition to the historical factoids, production notes, games, and promotions for The Scorpion King is a five-minute collection of outtakes cleverly cut together like a mock movie trailer. —Sean Axmaker

Director Richard Lester strikes the perfect balance between slapstick and swashbuckling swordplay in this whimsical adaptation of Alexandre Dumas's grand adventure. Michael York, all innocence and wide-eyed chivalry as young D'Artagnan, makes quite an impression on his first day in Paris: he challenges all three of the legendary Musketeers to a duel, then joins them in arms against the cardinal's soldiers. The worldly rascals, led by Athos (Oliver Reed), who hides his brooding past behind a sarcastic wit, adopt the young hero. Soon D'Artagnan is stealing hearts and stealing food with equal aplomb as he joins their campaign to defend the queen (Geraldine Chaplin) against a plot devised by the scheming cardinal (Charlton Heston) and his cold-hearted accomplice Milady de Winter (Faye Dunaway). Richard Chamberlain's Aramis, the trio's Don Juan and resident man of God, and Frank Finlay's fun-loving hedonist Porthos round out the Musketeers, while Christopher Lee's sneering Rochefort executes the cardinal's wishes as commander of the church's soldiers. Other members of this talented cast include Raquel Welch as the beautiful but disaster-prone seamstress to the queen, Spike Milligan as the beauty's jealous husband, Roy Kinnear as D'Artagnan's bumbling servant, Planchet, and Jean-Pierre Cassel as the clueless king. George MacDonald Fraser's rollicking screenplay combines boisterous adventure and roguish humor with marvelous characters, and Lester's dynamic direction turns it into one of the greatest comic swashbucklers of all time. Followed by The Four Musketeers, which continues the story in a darker vein. —Sean Axmaker

This adaptation of Marion Zimmer Bradley's sprawling and perennially popular book, whose retelling of the Arthurian legends focused on the role of powerful females, compresses a wealth of mysticism, family intrigue, and bloody swordplay into three hours. While the plot can meander slowly and can sometimes seem, well, mystifying, the work of three notable actresses holds the production together, and the numerous complications do eventually get resolved. As Viviane, the Lady of the Lake, Anjelica Huston endeavors to perpetuate the old religion as pagan Britain comes into contact with Christianity. The scheming Morgause, played to evil perfection by Joan Allen, conspires to her own ends. And Avalon priestess Morgaine, played by Julianna Margulies, travels the heroine's journey, overcoming tragedies, injustice, and all manner of obstacles in her duty to both "the goddess" and her younger brother, King Arthur. Although the action lags at times, the production is quite lavish for a made-for-television feature and the film is ultimately entertaining. —Robert J. McNamara

What kind of guy was the wizard Merlin, anyway? He lives a long time, raises a boy to be a king, props up a Utopian empire with his magic and wisdom, and then watches as it all crumbles under such banal forces as vengeance and betrayal. This four-hour mini-series re-tells the story of Camelot and King Arthur from the perspective of the magic man who sacrifices a great deal to guide mortals toward a better destiny. Sam Neill plays Merlin as an accessible, flesh-and-blood fellow of real passion, powerless to undo the spell of a rival (Rutger Hauer) who has virtually imprisoned Merlin's great love, Nimue (Isabella Rossellini), but gifted enough to counter the treachery of Morgan Le Fey (Helena Bonham Carter) and the wicked Queen Mab (Miranda Richardson). The battle sequences and special effects are striking and original, and it is great fun to see such art-house movie actors as Richardson, Carter, Neill, etc., in fantasy entertainment the whole family can enjoy. (An unrecognizable Martin Short must be singled out, however, for a wonderful, largely dramatic performance as Mab's sidekick, Frik.) Directed by Steve Barron (The Adventures of Pinocchio), Merlin is a nice bit of glossy revisionism of a beloved legend. —Tom Keogh

A lusty and rousing adventure, this calls to mind those glorious costume dramas produced so capably by the old Hollywood studio system—hardly surprising, in that its title character, a de facto Robin Hood in Old California, provided starring vehicles for Douglas Fairbanks and Tyrone Power, the 50s TV hit, and dozens of serials and features. Zorro, a pop-fiction creation invented by Johnston McCulley in 1918, is given new blood in this fast-moving and engaging version, which actually works as a sequel to the story line in the Fairbanks-Power saga, The Mark of Zorro. A self-assured Anthony Hopkins is Don Diego de la Vega, a Mexican freedom fighter captured and imprisoned just as Spain concedes California to Santa Ana. Twenty years later, he escapes from prison to face down his mortal enemy, a land grabbing governor played with slimy spitefulness by Stuart Wilson. Too old to save the local peasants on his own, he trains bandito Antonio Banderas to take his place. Much swashbuckling ensues as Banderas woos Catherine Zeta-Jones, becomes a better human being and saves the disenfranchised rabble. Director Martin Campbell wisely instils a measure of frivolity into the deftly choreographed action sequences, while letting a serious tone creep in when appropriate. This covers much ground under the banner of romantic-action-adventure and it does so most excellently. —Rochelle O'Gorman

Footnotes in movie books are likely to reduce this swashbuckling adventure down to a simple description: it was the first movie to star Leonardo DiCaprio after the phenomenal success of Titanic. As such it automatically attracted a box-office stampede of Leo's young female fans, but critical reaction was deservedly mixed. Having earned his directorial debut after writing the Oscar-winning script for Mel Gibson's Braveheart, Randall Wallace wrote and directed this ambitious version of the often-filmed classic novel by Alexandre Dumas. DiCaprio plays dual roles as the despotic King Louis XIV, who rules France with an iron fist, and the king's twin brother, Philippe, who languishes in prison under an iron mask, his identity concealed to prevent an overthrow of Louis' throne. But Louis' abuse of power ultimately enrages Athos (John Malkovich), one of the original Four Musketeers, who recruits his former partners (Gabriel Byrne, Gérard Depardieu, and Jeremy Irons) in a plot to liberate Philippe and install him as the king's identical replacement. Once this plot is set in motion and the Musketeers are each given moments in the spotlight, the film kicks into gear and offers plenty of entertainment in the grand style of vintage swashbucklers. But it's also sidetracked by excessive length and disposable subplots, and for all his post-Titanic star power, the boyish DiCaprio just isn't yet "man" enough to be fully convincing in his title role. Still, this is an entertaining movie, no less enjoyable for falling short of the greatness to which it aspired. —Jeff Shannon

The greatest trilogy in film history, presented in the most ambitious sets in DVD history, comes to a grand conclusion with the extended edition of The Lord of the Rings: The Return of the King. Not only is the third and final installment of Peter Jackson's adaptation of the works of J.R.R. Tolkien the longest of the three, but a full 50 minutes of new material pushes the running time to a whopping 4 hours and 10 minutes. The new scenes are welcome, and the bonus features maintain the high bar set by the first two films, The Fellowship of the Ring and The Two Towers.

What's New?
One of the scenes cut from the theatrical release but included here, the resolution of the Saruman storyline, generated a lot of publicity when the movie opened, as actor Christopher Lee complained in the press about losing his only appearance. It's an excellent scene, one Jackson calls "pure Tolkien," and provides better context for Pippin to find the wizard's palantir in the water, but it's not critical to the film. In fact, "valuable but not critical" might sum up the ROTK extended edition. It's evident that Jackson made the right cuts for the theatrical run, but the extra material provides depth and ties up a number of loose ends, and for those sorry to see the trilogy end (and who isn't?) it's a welcome chance to spend another hour in Middle-earth. Some choice moments are Gandalf's (Ian McKellen) confrontation with the Witch King (we find out what happened to the wizard's staff), the chilling Mouth of Sauron at the gates of Mordor, and Frodo (Elijah Wood) and Sam (Sean Astin) being mistaken for Orc soldiers. We get to see more of Éowyn (Miranda Otto), both with Aragorn and on the battlefield, even fighting the hideously deformed Orc lieutenant, Gothmog. We also see her in one of the most anticipated new scenes, the Houses of Healing after the battle of the Pelennor Fields. It doesn't present Aragorn (Viggo Mortensen) as a savior as the book did, but it shows the initial meeting between Éowyn and Faramir (David Wenham), a relationship that received only a meaningful glance in the theatrical cut.

If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.
And for those who complained, no, there are no new endings, not even the scouring of the Shire, which many fans were hoping to see. Nor is there a scene of Denethor (John Noble) with the palantir, which would have better explained both his foresight and his madness. As Jackson notes, when cuts are made, the secondary characters are the first to go, so there is a new scene of Aragorn finding the palantir in Denethor's robes. Another big difference is Aragorn's confrontation with the King of the Dead. In the theatrical version, we didn't know whether the King had accepted Aragorn's offer when the pirate ships pulled into the harbor; here Jackson assumes that viewers have already experienced that tension, and instead has the army of the dead join the battle in an earlier scene (an extended cameo for Jackson). One can debate which is more effective, but that's why the film is available in both versions. If you feel like watching the relatively shorter version you saw in the theaters, you can. If you want to completely immerse yourself in Peter Jackson's marvelous and massive achievement, only the extended edition will do.

How Are the Bonus Features?
To complete the experience, The Return of the King provides the same sprawling set of features as the previous extended editions: four commentary tracks, sharp picture and thrilling sound, and two discs of excellent documentary material far superior to the recycled material in the theatrical edition. Those who have listened to the seven hours of commentary for the first two extended editio ns may wonder if they need to hear more, but there was no commentary for the earlier ROTK DVD, so it's still entertaining to hear him break down the film (he says the beacon scene is one of his favorites), discuss differences from the book, point out cameos, and poke fun at himself and the extended-edition concept ("So this is the complete full strangulation, never seen before, here exclusively on DVD!"). The documentaries (some lasting 30 minutes or longer) are of their usual outstanding quality, and there's a riveting storyboard/animatic sequence of the climactic scene, which includes a one-on-one battle between Aragorn and Sauron.

One DVD Set to Rule Them All
Peter Jackson's trilogy has set the standard for fantasy films by adapting the Holy Grail of fantasy stories with a combination of fidelity to the original source and his own vision, supplemented by outstanding writing, near-perfect casting, glorious special effects, and evocative New Zealand locales. The extended editions without exception have set the standard for the DVD medium by providing a richer film experience that pulls the three films together and further embraces Tolkien's world, a reference-quality home theater experience, and generous, intelligent, and engrossing bonus features. —David Horiuchi

The extended edition of The Lord of the Rings: The Fellowship of the Ring was perhaps the most comprehensive DVD release to date, and its follow-up, The Two Towers, proves a similarly colossal achievement, with significant extra footage and a multitude of worthwhile bonus features. The extended version of The Two Towersadds 43 minutes to the theatrical version's 179-minute running time, and there are significant, valuable additions to the film. Two new scenes might appease those who feel that the characterization of Faramir was the film's most egregious departure from the book, and fans will appreciate an appearance of the Huorns at Helm's Deep plus a nod to the absence of Tom Bombadil. Seeing a little more interplay between the gorgeous Eowyn and Aragorn is welcome, as is a grim introduction to Eomer and Theoden's son. And among the many other additions, there's an extended epilogue that might not have worked in the theater, but is more effective here in setting up The Return of the King. While the 30 minutes added to The Fellowship of the Ring felt just right in enriching the film, the extra footage in The Two Towers at times seems a bit extraneous—we see moments that in the theatrical version we had been told about, and some fleshed-out conversations and incidents are rather minor. But director Peter Jackson's vision of J.R.R. Tolkien's world is so marvelous that it's hard to complain about any extra time we can spend there.

While it may seem that there would be nothing left to say after the bevy of features on the extended Fellowship, the four commentary tracks and two discs of supplements on The Two Towers remain informative, fascinating, and funny, far surpassing the recycled materials on the two-disc theatrical version. Highlights of the 6.5 hours' worth of documentaries offer insight on the stunts, the design work, the locations, and the creation of Gollum, and—most intriguing for rabid fans—the film's writers (including Jackson) discuss why they created events that weren't in the book. Providing variety are animatics, rough footage, countless sketches, and a sound-mixing demonstration. Again, the most interesting commentary tracks are by Jackson and writers Fran Walsh and Philippa Boyens and by 16 members of the cast (eight of whom didn't appear in the first film, and even including John Noble, whose Denethor character only appears in this extended cut). The first two installments of Peter Jackson's trilogy have established themselves as the best fantasy films of all time, and among the best film trilogies of all time, and their extended-edition DVD sets have set a new standard for expanding on the already-epic films and providing comprehensive bonus features. —David Horiuchi

In every aspect, the extended-edition DVD of Peter Jackson's epic fantasy The Lord of the Rings: The Fellowship of the Ring blows away the theatrical-version DVD. No one who cares at all about the film should ever need to watch the original version again. Well, maybe the impatient and the squeamish will still prefer the theatrical version, because the extended edition makes a long film 30 minutes longer and there's a bit more violence (though both versions are rated PG-13). But the changes—sometimes whole scenes, sometimes merely a few seconds—make for a richer film. There's more of the spirit of J.R.R. Tolkien, embodied in more songs and a longer opening focusing on Hobbiton. There's more character development, and more background into what is to come in the two subsequent films, such as Galadriel's gifts to the Fellowship and Aragorn's burden of lineage. And some additions make more sense to the plot, or are merely worth seeing, such as the wood elves leaving Middle-earth or the view of Caras Galadhon (but sorry, there's still no Tom Bombadil). Extremely useful are the chapter menus that indicate which scenes are new or extended.

Of the four commentary tracks, the ones with the greatest general appeal are the one by Jackson and cowriters Fran Walsh and Philippa Boyens, and the one by 10 cast members, but the more technically oriented commentaries by the creative and production staff are also worth hearing. The bonus features (encompassing two complete DVDs) are far superior to the largely promotional materials included on the theatrical release, delving into such matters as script development, casting, and visual effects. The only drawback is that the film is now spread over two discs, with a somewhat abrupt break following the council at Rivendell, due to the storage capacity required for the longer running time, the added DTS ES 6.1 audio, and the commentary tracks. But that's a minor inconvenience. Whether in this four-disc set or in the collector's gift set (which adds Argonath bookends and a DVD of National Geographic Beyond the Movie: The Lord of the Rings: The Fellowship of the Ring), the extended-edition DVD is the Fellowship DVD to rule them all. —David Horiuchi

Although it was ultimately overshadowed by Peter Jackson's live-action Lord of the Rings trilogy, Ralph Bakshi's animated adaptation of J.R.R. Tolkien's fantasy classic is not without charms of its own. A target of derision from intolerant fans, this ambitious production is nevertheless a respectably loyal attempt to animate the first half of Tolkien's trilogy, beginning with the hobbit Frodo's inheritance of "the One Ring" of power from Bilbo Baggins, and ending with the wizard Gandalf's triumph over the evil army of orcs. While the dialogue is literate and superbly voiced by a prestigious cast (including John Hurt as Aragorn), Leonard Rosenman's accomplished score effectively matches the ominous atmosphere that Bakshi's animation creates and sustains. Bakshi's lamentable decision to combine traditional cel animation with "rotoscoped" (i.e., meticulously traced) live-action footage is jarringly distracting and aesthetically disastrous, but when judged by its narrative content, this Lord of the Rings deserves more credit than it typically receives. —Jeff Shannon